Coming out of Massachusetts’ prolific fuzzy, noise pop scene, Speedy Ortiz’s previous releases were enjoyable, especially the cryptic lyrics of frontwoman Sadie Dupuis, but lacked the hooks to take the band to the next level. Foil Deer does not have that deficiency. Instead, there are hooks as far as the eye can see in addition to the great lyrics (“I was the best at being second place/But now I’m just the runner up” is a contender for best line of the year). Dupuis’ voice and the album’s guitar tones bring to mind 90s artists like Liz Phair and Veruca Salt, so the album is particularly recommended for fans of those artists, but really if you like guitar pop at all, Foil Deer (especially “Puffer” and lead single “Raising the Skate”) is for you.

Philadelphia’s, by way of Birmingham, AL, Waxahatchee is the solo project of Katie Crutchfield, who makes DIY singer/songwriter, punk. Ivy Tripp is Waxahatchee’s fantastic third full length album, first for the like minded Merge Records, and continues Crutchfield’s exploration of feminist ideas that goes back to her pre-Waxahatchee bands P.S. Eliot and The Ackleys. Ivy Tripp‘s lyrics use Crutchfield’s experiences, or more specifically her mistakes, to demonstrate how a strong, independent woman is formed in today’s society, but it’s clear she’s just an example and makes no claim at creating a road map. Even if you aren’t interested in the lyrics, though, (and really, whether you’re male or female, liberal or conservative, you should be interested) there is a lot to enjoy on Ivy Tripp.

If there were questions as to the direction Sufjan Stevens would take after the departure from the norm that was Age of Adz, naming his new album after his mother and stepfather (his first album since his mother’s passing, mind you) answered those questions load and clear: Sufjan Stevens is looking back, which means a return to lovely, gentle indie folk. Carrie & Lowell strips away both the electronics of Adz and the lush orchestration of Come on Feel the Illinoise, putting the focus squarely on Sufjan’s lyrics, which come heavily from his life. This album is going inspire a lot of reminiscing, particularly amongst those who have lost parents, and is going to cause a lot of tears. They’ll be happy tears, though, so it’s unlikely people will be complaining.

Courtney Barnett – Sometimes I Sit and Think, and Sometimes I Just Sit

Courtney Barnett is part singer/songwriter storytelling and part punk ethos, which combine to form a fascinating whole appealing to fans of both clever lyrics and visceral noise. Sometimes I Sit and Think, and Sometimes I Just Sit is just her first full length (following her Double EP: A Sea of Split Peas), but following 8 shows last week at SXSW and features with seemingly every major music website in the last few weeks, it already has her poised on the verge of stardom. Thankfully, Sometimes I Sit… stands up to the hype. The guitars still cut, Barnett still sings like a slacker, and the lyrics remain charming, creating yet another entry on the already long list of great 2015 albums.

Much to the surprise of everyone (including his management at TDE), King Kendrick’s new album is out in the world a week early. There is a lot that can, will, and should be said about To Pimp a Butterfly, but it all boils down to one thing: This album is an absolute monster. To Pimp a Butterfly is essentially (and on “Mortal Man”, literally) a funked up conversation between Kendrick and his fore bearers. It is also a simultaneous declaration of being a proud black man and a declaration of war against the socio-economic situation so many face in American society. It’s the most daringly political album in some time, and it is jawdroppingly amazing.

When Purity Ring released their debut album Shrines in 2012 (my favorite album that year) it took a defibrillator to the pop system. The duo’s use of synths, drum machine, and Megan James’ lyrics fell in the pop realm, but redirected the genre down a more experimental path. Now that bands like CHVRCHES have followed that path, the question became whether Purity Ring would push further towards the experimental. The answer, as demonstrated by another eternity, is that they will not. Rather than a defibrillator, another eternity is more of a thermostat, maintaining the sound of Shrines within certain parameters, and providing a very enjoyable, if safe, listen.

Combining an avant-garde, instrumental jazz and hip hop trio and a brilliant MC with a love for soul/jazz samples is a no brainer. So, it should come as no surprise the combination of BADBADNOTGOOD and Ghostface Killah works so well. Throw in guest verses from guys like Doom and Danny Brown, and Sour Soul is an embarrassment of riches. The album sounds exactly as you would hope, with unmistakable Ghostface rhymes (in both topic and flow) sitting on top of a bed of soulful piano/synths, live bass, and drums. The artists all have such a wonderful feel for each other it seems they’ve been working together for years. Sour Soul is a great album.

Drake has jumped on the release an album by surprise bandwagon with If You’re Reading This It’s Too Late. Unlike Beyoncé’s and D’Angelo’s big, blown out surprise albums, however, IYRTITL is really more of a mixtape than a studio album and finds Drake at his most stripped down and emo. Most of the album is just Drake rapping over spare beats (primarily from Boi-1da, but Noah “40” Shebib is obviously here, too), with only the occasional feature from the likes of Lil Wayne, Travi$ Scott, and PARTYNEXTDOOR. Essentially, IYRTITL is an album chock full of the most divisive aspects of Drake’s music, so if you’re already a fan you’ll love it, but if you aren’t it’s best to skip this one.

If you like the sound of soulful 70’s singer-songwriters, but think their lyrics weren’t nearly sarcastic, caustic, or angry enough, I’d like to introduce you to Father John Misty. I Love You Honeybear is the real life Josh Tillman’s sophomore album as Father John Misty, and while it replaces a lot of the anger of its predecessor with sincere sentiments of love (he met his now wife after Fear Fun was written) he hasn’t lost all of it (the lines “Save me white Jesus” and “Save me President Jesus” from first single “Bored in the USA” are early contenders for my favorite line of the year). More importantly, there’s a rare depth to this album that takes several listens to reach. Once it has been reached, however, I Love You Honeybear opens up and shows it is well worth the time.

Punk bands usually age poorly. Youthful anger often matures into adult satisfaction and neuters new music. Happily, Title Fight seem to be avoiding this pitfall by exploring different sonic palates. The first 5 songs of Hyperview are dreamy punk that show clear influences from My Bloody Valentine and progeny. Track 6 and after, however, make quite the sonic switch to post punky (almost new wave) sounds reminiscent of the new direction Merchandise took on After the End. Both halves of the album are excellent, but putting them together does make for a somewhat jarring listen.